Notes from SPONY’s Live Event on January 28th

It’s such an honor and a privilege for me to be associated with the wonderful songwriters and industry panelists in the New York music community.  It was another great event last Thursday.  And, it was our first time in a new space, which is being hosted by SESAC, and it turned out great.  Of course, it helps that the studios where we are meeting are owned by a songwriter himself.  We were given a lot of extra attention on that score and the sound was perfect.

As always, we heard a number of songs which have hit potential.  Check out some of the Keepers of the evening which I’ve posted into the “Listening Room” on this site.  There are always really good songs which are passed on because the panelists don’t believe they can forward them, which is disappointing for me.  And then of course, there are also always some songs which don’t have a shot at all.  People write songs for any number of reasons and if you’re writing just to feed the heart and soul, or to make a gift to someone, or to release emotions and tell a story, well then it really doesn’t matter whether the song is good, well-performed, well-produced, etc.  BUT, if your intent is to market and sell those songs, well, it’s a whole other ball game.  There are some must-haves.

The panelists who come to SPONY are all industry people whose job description is to look for songs and/or songwriters.  Those at the record labels are coming to either find artist/songwriters, or to find songs for artists currently recording.  They are only looking for “hit” songs.  That means it must have a hook chorus.  And that means it’s something you can, and want to sing along with at the top of your lungs.  Panelists from the music publishers are looking for songwriting talent.  They are still looking for hit songs, but will often take songs with them that they feel show a long-term potential for the songwriter.  Music supervisors and reps from the music production libraries and ad agencies are only looking for fully-produced, perfectly-performed cuts, with either a melodic or lyric hook that they can simply drop as-is into a film, TV or advertising project.  Samples don’t work for any of them.  The music supervisors would have to clear them with the other artists and feel it’s too much trouble, and the label and publishers think it unoriginal.

The performance of the lead vocalist is also so important.  I remember some months ago, there was a hip hop track pitched.  The track was smoking.  I saw by the body language of each of the three panelists that they were completely captivated.  Then the vocal came in – out of the pocket rhythmically, and off pitch.  The bells were rung after the first line.  The lead vocal also needs to sound “hip” to use a clichéd word.  It’s a turn-off to hear a wavery, operatic voice sing what should be a pop song.  Even if your song is stylistically more standards than pop, the singer should sound like they recorded it yesterday, rather than in 1950.

And, one of the other problems I see, which I admit doesn’t happen too often, but did this past week, is an introduction which is too long, at least for a pitching event.  If your song has a 32-bar intro, burn a CD version with a 4-bar intro to pitch and have the regular CD ready to give us if it’s a Keeper.  That’s also true if the song takes too long to get to the chorus.  Our panelists only listen through the first chorus usually.  If they’re tired before the first verse even starts, you’re doomed.  They won’t even get to the chorus.

And last, novelty songs. Some publishers and labels look for novelty, although not too many.  And with the music supervisors, the odds of hitting it on the night they have a project where they need a song about something offbeat and specific are, well, like finding a needle in a haystack.  There was one song about beer which has been a Keeper a few times, but I think that’s because such a large number of people drink beer.  There might be more opportunity for a placement for that reason.

Anyway, I’ll get off my soap box for the moment and go back to finalizing my panel for February!  I hope no one has gotten the wrong idea.  SPONY brings out the cream of the New York songwriting community and the vast majority of songs pitched are really, really good.  Every month the panelists tell me they were blown away with how high the quality of the writing was.  And, that’s why I’m able to get them to join us.

Keep up the good work!!

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